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Romanticism (literature)

I INTRODUCTION

Romanticism (literature), a movement in the literature of virtually every country of Europe, the United States, and Latin America that lasted from about 1750 to about 1870, characterized by reliance on the imagination and subjectivity of approach, freedom of thought and expression, and an idealization of nature The term romantic first appeared in 18th-century English and originally meant “romancelike”—that is, resembling the fanciful character of medieval romances

II ORIGINS AND INSPIRATION

By the late 18th century in France and Germany, literary taste began to turn from classical and neoclassical conventions (see Classic, Classical, and Classicism) Inspiration for the romantic approach initially came from two great shapers of thought, French philosopher Jean Jacques Rousseau and German writer Johann Wolfgang von Goethe

A The Romantic Spirit

Rousseau established the cult of the individual and championed the freedom of the human spirit; his famous announcement was “I felt before I thought” Goethe and his compatriots, philosopher and critic Johann Gottfried von Herder and historian Justus Möser, provided more formal precepts and collaborated on a group of essays entitled Von deutscher Art und Kunst (Of German Style and Art, 1773) In this work the authors extolled the romantic spirit as manifested in German folk songs, Gothic architecture, and the plays of English playwright William Shakespeare Goethe sought to imitate Shakespeare's free and untrammeled style in his Götz von Berlichingen (1773; translated 1799), a historical drama about a 16th-century robber knight The play, which justifies revolt against political authority, inaugurated the Sturm und Drang (storm and stress) movement, a forerunner of German romanticism Goethe's novel The Sorrows of Young Werther (1774; translated 1779) was also in this tradition One of the great influential documents of romanticism, this work exalts sentiment, even to the point of justifying committing suicide because of unrequited love The book set a tone and mood much copied by the romantics in their works and often in their personal lives: a fashionable tendency to frenzy, melancholy, world-weariness, and even self-destruction

B The Romantic Style

The preface to the second edition of Lyrical Ballads (1800), by English poets William Wordsworth and Samuel Taylor Coleridge was also of prime importance as a manifesto of literary romanticism Here, the two poets affirmed the importance of feeling and imagination to poetic creation and disclaimed conventional literary forms and subjects Thus, as romantic literature everywhere developed, imagination was praised over reason, emotions over logic, and intuition over science—making way for a vast body of literature of great sensibility and passion This literature emphasized a new flexibility of form adapted to varying content, encouraged the development of complex and fast-moving plots, and allowed mixed genres (tragicomedy and the mingling of the grotesque and the sublime) and freer style

No longer tolerated, for example, were the fixed classical conventions, such as the famous three unities (time, place, and action) of tragedy An increasing demand for spontaneity and lyricism—qualities that the adherents of romanticism found in folk poetry and in medieval romance—led to a rejection of regular meters, strict forms, and other conventions of the classical tradition In English poetry, for example, blank verse largely superseded the rhymed couplet that dominated 18th-century poetry The opening lines of the swashbuckling melodrama Hernani (1830; translated 1830), by the great French romantic writer Victor Hugo, are a departure from the conventional 18th-century rules of French versification; and in the preface to his drama Cromwell (1827; translated 1896), a famous critical document in its own right, Hugo not only defended his break from traditional dramatic structure but also justified the introduction of the grotesque into art In their choice of heroes, also, the romantic writers replaced the static universal types of classical 18th-century literature with more complex, idiosyncratic characters; and a great deal of drama, fiction, and poetry was devoted to a celebration of Rousseau's “common man”

III THE GREAT ROMANTIC THEMES

As the romantic movement spread from France and Germany to England and then to the rest of Europe and across to the western hemisphere, certain themes and moods, often intertwined, became the concern of almost all 19th-century writers

A Libertarianism

Many of the libertarian (see Libertarianism) and abolitionist movements of the late 18th and early 19th centuries were engendered by the romantic philosophy—the desire to be free of convention and tyranny, and the new emphasis on the rights and dignity of the individual Just as the insistence on rational, formal, and conventional subject matter that had typified neoclassicism was reversed, the authoritarian regimes that had encouraged and sustained neoclassicism in the arts were inevitably subjected to popular revolutions Political and social causes became dominant themes in romantic poetry and prose throughout the Western world, producing many vital human documents that are still pertinent The year 1848, in which Europe was wracked by political upheaval, marked the flood tide of romanticism in Italy, Austria, Germany, and France

In William Tell (1804; translated 1825), by German dramatist Friedrich von Schiller, an obscure medieval mountaineer becomes an immortal symbol of opposition to tyranny and foreign rule In the novel The Betrothed (1825-1827; translated 1834), by Italian writer Alessandro Manzoni, a peasant couple become instruments in the final crushing of feudalism in northern Italy Lord Byron and Percy Bysshe Shelley, who for some most typify the romantic poet (in their personal lives as well as in their work), wrote resoundingly in protest against social and political wrongs and in defense of the struggles for liberty in Italy and Greece Russian poet Aleksandr Sergeyevich Pushkin, whose admiration for the work of Byron is clearly manifested, attracted notoriety for his “Ode to Liberty” (1820); like many other romanticists, he was persecuted for political subversion

The general romantic dissatisfaction with the organization of society was often channeled into specific criticism of urban society La maison du berger (The Shepherd's Hut, 1844), by French poet Alfred Victor de Vigny, expresses the view that such an abode has more nobility than a palace Earlier, Rousseau had written that people were born free but that everywhere civilization put them in chains This feeling of oppression was frequently expressed in poetry—for example, in the work of English visionary William Blake, writing in the poem “Milton” (about 1804-1808) of the “dark Satanic mills” that were beginning to deface the English countryside; or in Wordsworth's long poem The Prelude (1850), which speaks of “ the close and overcrowded haunts/Of cities, where the human heart is sick”

B Nature

Basic to such sentiments was an interest central to the romantic movement: the concern with nature and natural surroundings Delight in unspoiled scenery and in the (presumably) innocent life of rural dwellers is perhaps first recognizable as a literary theme in such a work as “The Seasons” (1726-1730), by Scottish poet James Thomson The work is commonly cited as a formative influence on later English romantic poetry and on the nature tradition represented in English literature, most notably by Wordsworth Often combined with this feeling for rural life is a generalized romantic melancholy, a sense that change is imminent and that a way of life is being threatened Such intimations were early evinced in “Ode to Evening” (1747) by William Collins, “Elegy Written in a Country Churchyard” (1751) by Thomas Gray, and The Borough (1810) by George Crabbe The melancholic strain later developed as a separate theme, as in “Ode on Melancholy” (1820) by John Keats, or—in a different time and place—in the works of American writers: the novels and tales of Nathaniel Hawthorne, which probe the depths of human nature in puritanical New England, or the macabre tales and melancholy poetry of Edgar Allan Poe

In another vein in American literature, the romantic interest in untrammeled nature is found in such writers as Washington Irving, whose Sketch Book of Geoffrey Crayon, Gent (1819-1820), a collection of descriptive stories about the Hudson River valley, reflects the author's knowledge of European folktales as well as contemporary romantic poetry and the Gothic novel The Leather-Stocking Tales by James Fenimore Cooper celebrate the beauty of the American wilderness and the simple frontier life; in romantic fashion they also idealize the Native American as (in Rousseau's phrase) the “noble savage” By the middle of the 19th century the nature tradition was absorbed by American literary transcendentalism, chiefly expressed in the essays of Ralph Waldo Emerson and Henry David Thoreau

C The Lure of the Exotic

In the spirit of their new freedom, romantic writers in all cultures expanded their imaginary horizons spatially and chronologically They turned back to the Middle Ages (5th century to 15th century) for themes and settings and chose locales ranging from the awesome Hebrides of the Ossianic tradition, as in the work of Scottish poet James MacPherson (see Ossian and Ossianic Ballads), to the Asian setting of Xanadu evoked by Coleridge in his unfinished lyric “Kubla Khan” (1797) The compilation of old English and Scottish ballads by English poet Thomas Percy was a seminal work; his Reliques of Ancient English Poetry (1765) exerted a significant influence on the form and content of later romantic poetry The nostalgia for the Gothic past mingled with the tendency to the melancholic and produced a fondness for ruins, graveyards, and the supernatural as themes In English literature, representative works include Keats's “The Eve of St Agnes,” the Gothic novels of Matthew Gregory Lewis, and The Castle of Otranto (1764) by Horace Walpole The Lay of the Last Minstrel (1805), by Scottish writer Sir Walter Scott, and his historical novels, the Waverley series (1814-1825), combine these concerns: love of the picturesque, preoccupation with the heroic past, and delight in mystery and superstition

D The Supernatural

The trend toward the irrational and the supernatural was an important component of English and German romantic literature It was reinforced on the one hand by disillusion with 18th-century rationalism and on the other by the rediscovery of a body of older literature—folktales and ballads—collected by Percy and by German scholars Jacob and Wilhelm Karl Grimm (see Grimm Brothers) and Danish writer Hans Christian Andersen From such material comes, for example, the motif of the doppelgänger (German for “double”) Many romantic writers, especially in Germany, were fascinated with this concept, perhaps because of the general romantic concern with self-identity Poet Heinrich Heine wrote a lyric apocryphally titled “Der Doppelgänger” (1827; translated 1846); The Devil's Elixir (1815-1816; translated 1824), a short novel by E T A Hoffmann, is about a double; and Peter Schlemihl's Remarkable Story (1814; translated 1927), by Adelbert von Chamisso, the tale of a man who sells his shadow to the devil, can be considered a variation on the theme Later, Russian master Fyodor Mikhaylovich Dostoyevsky wrote his famous novel The Double (1846), an analysis of paranoia in a humble clerk

IV DECLINE OF THE TRADITION

By about the middle of the 19th century, romanticism began to give way to new literary movements: the Parnassians and the symbolist movement in poetry, and realism and naturalism in prose

See also American Literature: Poetry; American Literature: Prose; Brazilian Literature; Danish Literature; Dutch Literature; English Literature; French Literature; German Literature; Italian Literature; Latin American Literature; Polish Literature; Portuguese Literature; Russian Literature; Spanish Literature; Swedish Literature

Contributed By:

Robert J Clements

Microsoft ® Encarta ® Encyclopedia 2003 © 1993-2002 Microsoft Corporation All rights reserved

世界排名前十经典英文歌曲Promises don’t come easy Moon River Over the rianbow Nothing’s gonna change my love for you Because I love you I will always love you Scarbourgh fair Sound of Silence yestoday once more The one you love 今年大多数人爱听的：1)Avril-girlfriend: Avril在中国的名气还是不小的,今年到处都在放girlfriend你要说你没听过我也没话说 2)Ne yo-Because Of You: Neyo在So Sick之后的节奏感相当强的美声说唱 3)Akon-Sorry,Blame It On Me: 不要一提到Akon就想起Dont Matter,这首歌是Akon在一次对歌迷的暴力行为后的道歉,旋律相当的诚恳,可以听下 4)Beyonce-Irreplaceable: 在美国的大街小巷,连小孩都会插着腰哼"You must not know about me, You must not know about me",你怎么能不听一下这首07年度全球最火的RNB呢 5)Daughtry-Home: Chris Daughtry将抒情摇滚走向了极致,虽然声音不沙哑,但应该是远远超越Hinder的Lips Of An Angle了 6)Maroon 5-Wont Go Home Without You: 轻而易举一个优美的假声,再加上轻松舒适的旋律,主唱性感的光头造型,这就是Maroon 5 7)Fergie-Big Girls Dont Cry: 这是黑眼豆豆主唱Fergie的一首比较柔和的歌,同样推荐这张专辑里的Glamorous 8)Alicia Keys-No One: 舒缓而又强烈的节奏,简单的歌词,哑而不沙的声线,再也找不到第二个Alicia Keys了 9)Carrie Underwood-Before He Cheats: 乡村女王,感谢AI提拔了这个人才 10)Amy Winehouse-Back to Black: 许多人都预计,Amy会凭着这首歌在今年的Grammy上大红大紫 11)Keith Urban-I told you s 就是我常提起的那个进戒毒所的孩子这是首牛仔味十足的乡村,相当有意思 12)Rascal Flatts-Me And My Gang: 提到乡村不能不提RF,十分年轻,十分有活力 13)Taylor Swift-Our Song： 十七岁出道,自己写歌的乡村才女 14)Jordin Sparks-Tatt 此人同样来自AI,人们都说Tatto有模仿Irreplaceable的嫌疑但是不能否认这首歌很好听 15)Rihanna , Jay-Z-Umbrella 16)Justin Timberlake-What goes around 17)Elliott Yamin-Wait For You 18)Blake Lewis-I got U 19)The Hoosier-Worried About Ray 20)Soujia Boy-Crank That:歌倒不怎么样,这段舞全球出名 21)Plain White Ts-Hey There Delilah: 很慢很干净 22)Leona Lewis-Bleeding Love: X Factor第一届冠军,历程与Kelly Clarkson极其相似,特别是当她唱A moment Like This的时候 23)Shayne Ward-No U Hang Up: 人很帅,这首歌表现的是热恋中的孩子们的缠绵,打电话时"你先挂""不,你先挂" 24)Craig David-Hot Stuff 25)Kelly Clarkson-Never Again:除了这首歌,她这张专辑里几乎没什么动听的了和前两张专辑根本不能比 26)Linkin Park-what Ive done:

serendipity浪漫解释缘分天注定。

serendipity的寓意：意外发现珍奇事物的本领；有意外发现珍宝的运气。

erendipity这个单词的本身意思是指巧事；机缘凑巧，后来延伸为男女之间的情缘，有一种很浪漫的翻译是你是我不期而遇的美好，指男女之间的缘分是天注定的。

正是因为serendipity有这么一个浪漫的意思，很多网友都将其用作自己的网名，而且serendipity还有一个配套的情侣网名，这个配套网名就是Destiny Plays意味命运游戏，仔细想想男女之间的相遇、相知到相爱确实是一场命运的游戏啊，先遇上的不一定是对的，后遇上的可能是合适的，就是这么不讲规律。看到这里是不是觉得这个英语单词很浪漫呢？心动的话快点换上当做自己的网名吧。

情侣英文网名

Oxygen（氧气）| Anoxia（缺氧）

idiot(笨蛋)|Afool(傻瓜)

Pugss失魂人|Monee控魂者

North harbor（北港）|South Bay（南湾）

Always in his heart（久居他心）| Settle in her heart（定居她心）

关于爱情的英文单词

lovesick，相思

I'm just lovesick over the language，so I let him slide away。

我只为语言害了相思病，因此我让他脱逃而去。

devoted，挚爱的

They are devoted each orther。

他们都深爱着对方。

love，爱

Our love for each other has been increased by what we've been through together。

我们共同经历了这些风风雨雨后，彼此更加相爱了。

与所有流派一样，rom-com也具有周期性的寿命。

虽然该类型肯定不会以任何方式消亡，但它并没有像它鼎盛时期那样充斥着生活。在1990年代初至2000年代中期之间。

创新成为陈词滥调；故事变得陈旧，赌注变得毫无意义。这就是野兽的本质。

rom-com尚未死，但在那里处于暂停动画状态。当然至少是老式的rom-com。

体裁在不断发展。The Big Sick和Palm Springs之类的东西已从典型的“ rom-com”中删除。但这就是它们。适用于新时代的流派的更进化的表示形式。

对于传统的rom-com来说，这种演变并不一定意味着丧钟。在流媒体服务的支持下，这种流派已经迅速复苏。

以下是三个值得关注的最新rom-com：

荣誉奖：去年圣诞节，我曾经爱过的所有男孩，疯狂的有钱亚洲人

作为去年最令人困扰的票房失误之一，Long Shot与过去几年中的任何一家rom-com一样值得。

它由塞思·罗根（Seth Rogen）的非典型喜剧表演以及一贯出色的查理兹·塞隆（Charlize Theron）的喜剧表演（通常是搞笑的）引领。

它的喜剧性很敏锐，浪漫主义也很认真，塞隆和罗根的奇趣异服令人着迷。它们独特的化学性质是显而易见的。

这部**节奏快，不会太自以为是，当它的两个星星一起照亮屏幕时，它会发出最亮的光芒。这是一个迷人的人。

Long-Shot正在美国的Cinemax上播放。

有人可能会说“建立起来”复兴了“老派” rom-com。**或**的运作方式并没有什么内在的新颖性。

它以熟悉的rom-com理由和在熟悉的体裁比喻下的功能进行重读。但是克莱尔·斯坎伦（Claire Scanlon）迷人的rom-com使用那些具有敏锐自我意识的陈词滥调。

在佐伊·达奇（Zoey Deutch）和格伦·鲍威尔（Glen Powell）中，这部**有两条引人入胜的魅力。

模板很熟悉，但是**很有趣。Set It Up的成功为疲倦的游戏类型注入了新的活力。

《 Set It Up》在全球Netflix上流式传输。

在描述rom-coms时，“新鲜”一词被过度使用到恶心的地步。但这恰恰是西蒙的爱-呼吸新鲜空气。

Love Simon讲述了一个封闭的同性恋少年的奇妙甜蜜故事，他真诚，迷人，友善而完全迷人。

也许最重要的是，它在使这一类型的**与众不同的一个方面（“感觉良好”的因素）中表现出色。自始至终令人高兴。

“迷人”是相对于rom-coms被过度使用的另一个词。但我告诉你-爱，西蒙也许是在最迷人的ROM-COM在过去的五年中取得。

Love，Simon正在美国的Hulu和印度的Disney + Hotstar上进行流媒体播放。

Angela Ammons: [always getting over you] Blue: [best in me] Britney Spears: [autumn goodbye], [girl in the mirror][walk on by], [when I found you] Britt Nicole: [say it] Brooke Fraser: [faithful] Carpenters: [(they long to be) close to you] Carrie Underwood: [jesus,take the wheel] Cascada: [truly,madly,deeply] Corinne Bailey Rae: [put your records on] Craig David: [unbelievable], [you don't miss your water], [rise and fall], [kinda girl for me] Daniel Powter: [bad day], [love you lately] Daughtry: [home] Dixie Chicks: [not ready to make nice] Eminem: [lose yourself], [rock bottom] Evanescence: [taking over me], [bring me to life] Fefe Dobson: [everything] Fergie: [big girls don't cry], [fergalicious] Fort Minor: [believe me] Gareth Gates: [anyone of us] Hanson: [I will come to you] Hilary Duff: [the getaway], [so yesterday], [last christmas], [someones watching over me] Hoobastank: [the reason] Jamelia: [superstar] James Blunt: [you're beautiful] Jason Mraz: [geek in the pink] Jesse Mccartney: [take your sweet time], [why is love so hard to find], [just so you know], [invincible] Jet: [look what you've done] Jewel: [fragile heart], [deep water], [down so long] JoJo: [exceptional], [leave(get out)], [never say goodbye] Jordan Pruitt: [outside looking in], [when I pretend] Katharine Mcphee: [over it] Kelly Clarkson: [because of you] KT Tunstall: [other side of the world] Lene Marlin: [It's true], [sitting down here] Lillix: [It's about time], [promises] Lindsay Lohan: [something I never had] Linkin Park: [in the end] Lionel Richie: [I call it love] Mandy Moore: [walk me home] Maria Arredondo: [burning], [that day] Mariah Carey: [hero] Marie Picasso: [this moment], [out of my hands] Marion Raven: [end of me] Micheal Jackson: [you are not alone] Mutya Buena: [real girl] Natasha Bedingfield: [unwritten] Ne-Yo: [so sick], [because of you] Nick Lachey: [what's left of me], [where you are(&Jessica Simpson)] Pink: [who knew], [I'm not dead] Rascal Flatts: [my wish] RBD: [tu amor] Rob Thomas: [ever the same] Ronan Keating: [all over again] Sarah Connor: [just one last dance] Savage Garden: [truly madly deeply], [I know I love you], [living the dream] Shakira: [underneath your clothes] Shayne Ward: [that's my goal] Sheryl Crow: [good is good], [always on your side] Spice Girls: [goodbye], [too much], [viva forever] Sweetbox: [after the lights], [life is cool], [crown of thorns], [every step] TATU: [all about us], [gomenasai] Tata Young: [I think of you] Taylor Swift: [the outside] All-American Rejects: [stab my back], [straightjacket feeling] The Pussycat Dolls: [stickwitu] The Veronicas: [when it all falls apart] The Rasmus: [in the shadows], [guilty] Venke Knutson: [scared], [panic], [in2u] Vitamin C:[graduation(friends forever)] Westlife: [if your heart's not in it], [bop bop baby] High School Musical: [you are the music in me], [gotta go my own way], [everyday], [start of someting new], [when there was me and you],[breaking free] 以上是我多年听英文歌所总结出来的所有精华,有主流和非主流的，绝对好听,希望楼主喜欢!!! …………本人原创回答，发现抄袭一律投诉…………

　　首先推荐的是经典喜剧《生活大爆炸》(The Big Bang Theory)中谢耳朵的表白片段。看过这部剧的同学们应该都知道，谢耳朵是一个智商极高情商极低的理工男，但是你们知道吗是谢耳朵先向艾米提出交往的!!难以置信吧，这里可是有音频为证!

　Amy: Anything else

　Sheldon: I believe I would like to alter the paradigm of our relationship。

　Amy: I‘m listening。

　Sheldon: With the understanding that nothing changes whatsoever， physical or otherwise， I would not object to us no longer characterizing you as “not my girlfriend。”

　Amy: Interesting。 Now try it without the quadruple negative。

　Sheldon: You‘re being impossible。

　Amy: Hi， Stuart。

　Sheldon: Fine。 Amy。。。 will you be my girlfriend

　Amy: Yes。

　Sheldon: Well， that‘s enough of that。

　艾米:还有什么话要说吗

　谢耳朵:我想改变我俩的关系模式。

　艾米:我洗耳恭听。

　谢耳朵:基于无论如何都维持原状的共识，包括身体或其他方面，我将不会不同意、也不再把你定位为“不是我女朋友”。

　艾米:有意思。现在把“不”字去掉再给我说一遍。

　谢耳朵:你别得寸进尺。

　艾米:嗨，斯图尔特。

　谢耳朵:好吧，艾米，你愿意做我女朋友吗

　艾米:愿意。

　谢耳朵:好，这样就够了。

　谢耳朵的表白对我们来说难度似乎大了一些些，没关系，我们还可以听听别的`。在美剧《无耻之徒》(Shameless)的第一季第一集中，史蒂夫对菲奥娜来了一段文艺又浪漫的真情告白。

　Fiona： Yeah， so how come you‘re not stalking Jenna

　Steve： Because you。。。 you think like that and Jenna doesn‘t。 Jenna dances for an audience。 You dance like there’s no one else in the room。 Your life‘s not simple， Fiona， and you can’t stop it from showing because you‘re no fake。 You’re not lost， you don‘t need finding。 This whole city belongs to the Jennas， but I’m sick of them。 I swear， Fiona， you‘re nothing like anyone I’ve ever met。 You make me want to enjoy my life again。

　菲奥娜：对，你怎么没去追詹娜呢

　史蒂夫：因为你……你跟詹娜不一样。詹娜是为观众而舞，而你跳得旁若无人。你的生活复杂沉重，菲奥娜。但是你的光芒无法掩盖，因为你真挚动人。你没有迷失，不需要发现自我。或许整个城市都是詹娜的，但我受够了那样的女人。菲奥娜，我发誓，你真的与众不同，你让我想重新享受我的人生。

　接着再给大家介绍一个深情款款的告白。在《吸血鬼日记》(The Vampire Diaries)第二季第八集的结尾，达蒙把项链还给艾琳娜的时候，来了一段让万千少女感动流泪的真情表白。

　Damon： I just have to say something。

　Elena： Why do you have to say it with my necklace

　Damon： Well。。。 because what I‘m about to say is。。。 probably the most selfish thing I’ve ever said in my life。

　Elena： Damon， don‘t go there。

　Damon： No。 I just have to say it once。 You just need to hear it。 I love you， Elena。 And it‘s because I love you that。。。 I can’t be selfish with you。。。 Why you can‘t know this I don’t deserve you。。。 But my brother does。 God， I wish you didn‘t have to forget this。 But you do。

　达蒙：我有话要说。

　艾琳娜：非要拿着我的项链说吗

　达蒙：哦。。。 因为我要说的。。。 大概是我这辈子说过最自私的话了。

　艾琳娜：达蒙，别说了。

　达蒙：不，就让我说一次，你听着就好。我爱你，艾琳娜。因为我爱你。。。 所以不能对你那么自私。。。 为什么你不能知道我爱你 我配不上你。。。 但我弟弟可以。天呐，真希望你不用忘了我说的话，但你必须忘了。

　所以，同学们，就算不知道对方是否喜欢自己，也要大胆地说出自己的心意呀，你怎么知道她对你是否有意思呢不表白，你就一辈子没有希望啊。你看，达蒙在第四季的时候，就得到了艾琳娜的回应。

　Elena： Fine。 Then I‘m not sorry either。 I’m not sorry that I met you。 I‘m not sorry that knowing you has made me question everything and that in death you’re the one that made me feel most alive。 You‘ve been a terrible person。 You made all the wrong choices， and of all the choices that I have made， this will prove to be the worst one， but I am not sorry that I’m in love with you。 I love you， Damon。 I love you。

　艾琳娜：好吧，那我也不感到遗憾。我不后悔遇见了你，我不后悔认识你，让我质疑生命中的一切。即使已经死去，是你让我觉得充满活力。你是个很糟糕的人，你做出的选择都是错的，而我做的所有决定中，这恐怕是最糟的一个了，但我不后悔爱上你。我爱你，达蒙。我爱你。

有挺多的，deathstars，瑞典的工业金属乐队，低沉的唱腔，冷酷的节奏，推荐《night electric night》，单曲比较喜欢death dies hard，The Mark Of The Gun，Babylon，Opium

dope，工业金属乐队，比较喜欢他们的6-6-sick，Now or Never

norther，北方人乐队，北欧旋死，感觉很像博多之子，推荐《mirror of the madness》

devildriver，美国金属核乐队，比较喜欢Clouds Over California，I've Been Sober，I See Belief

我非常认可一句话：生活不能没有摇滚。一提到摇滚乐，给人们的印象往往是嘶吼、长发、纹身、噪音等等，其实不然，摇滚乐有很多种分类，摇滚乐是流行音乐家族中分支最复杂最多拥有最多拥笃者的一类音乐，至少我是这么认为的，摇滚乐是伟大的，不仅生活不能没有摇滚，我们的文化也不能没有摇滚。

亲，如果对我的回答满意的话请点赞留言哦~